Wynn Everett Reinvents "Agent Carter's" Madame Masque, Harnesses Zero Matter
TV, Comic Books
We’ve known for a few weeks now that some writers were attached to titles in DC Comics’ upcoming relaunch, only to find themselves shuffled off even as the official announcement was made. While some creators have spoken openly about the hurried, and somewhat-confused, pitch and rejection process, the names of other writers, and the corresponding titles, have been a mystery.
But with the launch last night of the publisher’s new landing page for “DC Comics: The New 52,” ComicsAlliance discovered that some of the original creators were, at least briefly, listed among the issue descriptions, providing evidence of the original plans. There’s confirmation of Brian Wood, instead of Michael Green and Mike Johnson, on Supergirl, Michael Alan Nelson, rather than Ron Marz, on Voodoo, and Simon Spurrier and an undetermined artist, rather than Paul Jenkins and Bernard Chang, on DC Universe Presents.
C.O. Austen, whom ComicsAlliance theorizes might be much-criticized Uncanny X-Men writer Chuck Austen, was also listed on Blackhawks, in place of Mike Costa, who actually ended up with the gig.
DC has made the corrections this morning, but ComicsAlliance has the screencaps from last night.
Welcome to Food or Comics?, where every week we talk about what comics we’d buy at our local comic shop based on certain spending limits — $15 and $30 — as well as what we’d get if we had extra money or a gift card to spend on a “Splurge” item.
If I had $15:
I’d pick up Batman Inc. #7 ($2.99) and that would be it, so afterwards I’d pat myself on the back for not blowing my whole $15.
If I had $30:
I’d go with Farm 54 ($25), a new hardbound collection of stories by the brother and sister team of Galit and Gilad Seliktar, courtesy of Fanfare/Ponent Mon. It’s basically a semi-autobiographical collection of tales capturing a young woman at various critical stages in her youth, adolescence and young adulthood, all done in a tentative, wispy watercolor. Lovely stuff to flip through, at the very least.
Hello and welcome to What Are You Reading? This week our special guest is Ross Campbell, creator of Shadoweyes and its recent sequel, Shadoweyes in Love, as well as Wet Moon, Water Baby, The Abandoned and “Refuse,” a short story in the recent Strange Adventures anthology from Vertigo.
To see what Ross and the Robot 6 crew have been reading lately, click below.
After years of waiting, Humberto Ramos had to take it into his own hands to bring his European graphic novel FairyQuest to America.
After initial plans to go through an un-named publisher fell through, Ramos has decided to self-publish the book in an extremely limited edition of 1000 at this year’s Comic-Con International at San Diego. Created with long-time collaborator Paul Jenkins, FairyQuest was released in Europe almost three years ago, but the duo couldn’t find the right publisher to bring it to the states.
Although best known now for his work on Amazing Spider-Man, Ramos has done numerous creator-owned projects such as Crimson and Out There at DC/Wildstorm, and even an earlier European series called K.
The sneak peeks over the years have kept my motor running, and I’m glad come July I’ll finally be able to get my hands on Ramos’ rarest work.
It is perhaps the greatest comic never published. Intended to be a 12-issue miniseries ambitious and complex enough to make Watchmen look like Wizard of Id on an off day, Alan Moore and Bill Sienkiewicz’s Big Numbers was a Joycean look at life in a small English town as a big-box retailer prepared to set up shop. But this grand fiction-as-fractal-geometry experiment only managed to produce two published issues in 1990 before hitting a massive delay during work on issue #3, losing Sienkiewicz, moving from Moore’s Mad Love publishing imprint to Kevin Eastman’s Tundra, tapping Sienkiewicz’s then-teenaged assistant (and current reclusive Pim & Francie creator and alt-horror superstar) Al Columbia to take over, losing Columbia and all the pages he’d completed, and finally shuddering to a halt.
The Sentry has come a long way, baby. Bob Reynolds’s story is no longer a man struggling with an addiction who was close to his dog, he’s just about as far from that as possible. The original April Fool’s Prank for The Golden Guardian of Good turned out to be a larger tale of a man with the greatest amount of power having the greatest amount of responsibility. That when you create the equal and opposite reaction to the power of a thousand exploding suns, the only way to win was to do nothing at all. At his first introduction, we are left with a very quiet and beautiful study of the greatest good and the worst evil residing in an everyday man and the world that had forgotten him.
When Bendis puled him out of the Vault for his New Avengers, the stakes had already been changed. The balance of good an evil was gone, just an implanted a virus from Mastermind and possible delusion villain The General that created psychological problems and the existence of the Void, which was just another extension of Reynolds himself. We lost our philosophical battle and our more peacable idea of wrong and right to be able to tear Carnage in half in space.
Okay, there’s nothing wrong with that. Bendis even brought in Paul Jenkins as a character in the book to explain everything, kind of having him sign off on the project. Despite his immense power and complexity, the Sentry was going to be an Avenger. Hey, they’ve worked with gods and demi-gods before, what’s the difference?